By Errol Lincoln Uys

Publish yr note: First released in 1986
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Brazil is a spellbinding saga on a very epic scale that brings to lifestyles Brazil and her history.

It is the 1st paintings of fiction to depict 5 centuries of an exceptional nation's outstanding historical past, its evolution from colony to state, from empire to trendy republic. With a beautiful solid of actual and fictional characters, the tale unfolds in South the United States, Africa and Europe.

Two robust households dominate this outstanding novel. The Cavalcantis are one of the unique settlers and identify the vintage Brazilian planation -- huge, strong, equipped with slave exertions. The da Silvas signify the second one point in either modern and ancient Brazil: pathfinders and prospectors. For generations, those adventurers have their eyes set on El Dorado, which they eventually locate -- in a espresso fazenda at Sao Paulo.

Brazil is an intensely human tale -- brutal and violent, delicate and passionate. Perilous explorations during the Brazilian wilderness...the perpetual conflict of pioneer and Indian, visionary and fortune hunter, grasp and slave, zealot and exploiter...the thunder of struggle on land and sea as ecu powers and South American international locations pursue their territorial conquests...the triumphs and tragedies of a those that equipped a state masking part the South American continent ... all are the following in a single spell-binding saga.

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The same question, but with much more subtle shading, is treated in an earlier story, that of the entirely fictional Empress Crescentia. She intervenes with a duke on behalf of a guilty seneschal whose false witness 24 Introduction had caused the duke to order her drowned for the murder of the duke’s son. The duke had never known her imperial identity when he had entrusted his son to her care, and when she appears again the duke does not even recognize her as the woman he had ordered executed.

The only inference to be drawn from the abrupt breaking-off of the work that does not do violence to considerations of time and the author’s attitude toward recording events is, unhappily, of no help in telling us anything about him: that, at the point in question, our monk was puzzling over how to proceed with his account of the Second Crusade, and probably putting off its writing from day to day, when death or some sudden force of circumstances kept him from returning to his work. 2. Patronage Although there is neither a dedication nor mention of a patron in the Book of Emperors, a figure of some wealth or authority must be assumed to have stood behind its writing—unless the author himself were a spiritual lord of high degree, which cannot be ruled out, but which his anonymity speaks against.

At the end of the story, the words of Jesus about the destruction of Jerusalem are cited at length just before the (unhistorically early) Roman destruction of Jerusalem (690-764; 875-896). Still, his general statement that “the spirit of severity tinged by the genius of the Old Testament prevails almost everywhere” is on target. Ibid. The Value of the Book of Emperors 25 Thus with wise council did the King rule the Empire. He proclaimed a peace of God: for highway robbery the noose was the sentence, for murder the wheel—hai!

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